Gypsy and Vibe finally meet.

Vibe #4

Sterling Gates’ second issue on the title is a more accomplished work. However it is just a mildly entertaining read. The new art team of Manuel Garcia and Fabiano Neves don’t exactly impress either.

This is an issue that seems to be geared towards clearing the current plot so that Gates can tell his own tale. It is nice to see the book move at a fast pace and it has moments of decent characterisation. Agent Gunn is humanized due to the first page, which allows the reader to realise he isn’t just an evil agent. Gypsy gets a lot of time here and her scenes at the street market is a great way of showing what she is about without an exposition dump. But this is Vibe’s title and Gates does attempt to flesh Cisco out a little more. However Gates isn’t as successful at presenting an interesting central protagonist as the previous writing team and Cisco comes off as a second fiddle in his own title.

The plot itself isn’t really a surprising read as the title had already telegraphed this outcome. It is a nice direction for the title to take and having the Suicide Squad pop up at the end is a solid cliff-hanger. However the A.R.G.U.S element is still problematic due to the fact that they are just a villainous organisation with no depth. Granted Gunn has a little depth to him and a change in conscious, but it isn’t enough to sell them as an antagonistic force.

On a side note the inclusion of Batman is a great piece of misdirection by Gates. The title gets to have Batman on the front cover, but doesn’t have to sacrifice its story for a guest appearance.

Manuel Garcia and Fabiano Neves’ art isn’t exactly eye catching. They get the job done, but the book is visually uninspired. The art isn’t very detailed and a lot of the work seems rushed. However it is clear and does a good job at telling the story. But this is an example of functional art, which doesn’t really help the title out.

Although this issue is better than last months, it still suffers from being a little too simple. It has some fun moments and on the whole entertains, but it is a throwaway read. The art doesn’t help due to its pedestrian presentation. There is nothing inherently wrong with this issue other than it being a middle of the road read.

The Frightful Four return! (Sort of)

FF #7

There is no denying that Matt Fraction and Mike Allred continue to deliver a witty comic book. But this issue seems to be a little rushed. Aside from that though this is another entertaining read.

Fraction concludes his plot involving Bentley-23 and for the most part it is a by-the-numbers affair. The FF win, Medusa is back with the good guys and Bentley himself has found a home with this oddball family. Fraction’s script delivers the goods on the humour front and the issue will make you smile throughout. There is something inherently charming about the kids of the Future Foundation and Fraction knows it. Seeing them rush into battle is an enjoyable site. The rest of the cast also get a lot to work with here as Darla, Scott, Dragon Man and Medusa get moments to shine.

The character beats are played out well. Scott’s fear about loosing the children is put to rest and Darla gives one hell of a speech. Their budding romance is still a part of the book with Fraction and Allred adding some subtly between the two. The Onome and Scott scene is the highlight of the issue from a character perspective. Fraction knows how to show the innocence of youth, but also show how strong a leader Scott is. It is yet another example of Fraction’s ability to deliver engaging character work.

However the issue seems very fast paced when racing to its conclusion. The point of the issue (and the arc itself) may not be the actual conclusion of the plot, but it still seems a little too easy for our heroes.

Something else that seems a little mishandled is the thematic strand about family. Fraction’s message of “families come in all shapes and sizes” is an excellent one, however the execution is a little heavy handed. The Wizard’s little description of family life is clearly a satire and critique of the right wing point of view, but Fraction doesn’t quite pull it off. Fraction overstates his intent, using too much dialogue instead of relying on the members of the Wizard’s family (A madman, a monster, a clone and a brainwashed woman) to sell the joke.

Allred has done better work on the title, but his pencils are still striking. The bright colouring work of Laura Allred continues to give the book a distinct visual style that is in keeping with the tone of Fraction’s script. Allred excels in producing visual comedy and here is no exception, but he also knows how to draw the more subtle character work. The slight touching of hands between Scott and Darla is a great example of this. Allred is the perfect fit for this title and he delivers a book full of images that can be looked at for hours.

As this story involving Bentley-23 finishes it looks like Fraction is heading into Dr Doom territory. It is an interesting prospect due to the fact that Fraction and Allred deliver a wonderful read each month and the idea of these two dealing with the Fantastic Four’s nemesis is exciting. But in the mean time we are given another issue full of humour, wit and character. Allred’s visuals match Fraction’s script and the pair continues to deliver the most offbeat title Marvel is producing.

Kate comes face-to-face with her sister.

Batwoman #20

This newest arc is a welcome change of direction for the title. After all the supernatural hijinks it is nice to see a more grounded Batwoman tale. J.H. Williams III and W. Haden Blackman once again deliver a character driven issue. However Trevor McCarthy’s art takes a little dip in quality.

What we get this issue is a reinforcement of how important this particular mission is for Kate. She will finally be free of the D.E.O and get her sister back if she just finds out the identity of Batman. Of course it isn’t going to be that simple and the issue eludes to that, but for now Williams and Blackman handle the emotional blackmail well. They have created a compelling, if not original, scenario that continues to highlight their skills as character writers. From Chase’s flashback to the intervention, the characters fuel each moment of the script.

The intervention is easily the highlight of the issue as team Batwoman come together to tell Kate they are willing to help. The scene shows how much of a journey this cast has been on without over explaining everything. Maggie being the one to win the argument was a great way of showing the state of her relationship with Kate. It is scenes like this that make Batwoman stand out from the other titles on the shelves.

The scenes involving Kate and the D.E.O are well handled, but they are there to explain away the plot and position of both sides. The stand out moment there is Kate meeting Beth. It is a simple and well-executed scene that shows just how much her sister means to Kate.

Not all of the script truly works though. Agent Chase’s flashback is a little too long and seems like an excuse to add some action to the issue. It works for what it is but it wasn’t necessary to stretch it out for as long as it was.

Trevor McCarthy is perhaps the issue’s week link. His art is inconsistent here with the quality constantly shifting. His character work for the most part is strong, but there are moments where his pencils seem rushed. This dip in quality mainly happens when the script is hitting its big emotional beats, which is a shame. But on the whole McCarthy serves the script well.

Batwoman continues to be an engaging character piece. Williams and Blackman set up a story that has some great potential. The first half of the issue is a little overlong, but the script delivers once the flashback is over. McCarthy isn’t as strong here as he usually is, but it doesn’t make the book unreadable. With the characters coming first, Batwoman #20 is another successful issue by a talented creative team.

Constantine visits London.

Constantine #3

Ray Fawkes and Jeff Lemire put an end to the first arc, but it isn’t exactly reverting reading. The plot of the arc has been somewhat lacklustre and it is good that its ended.

The problem is that there are no stakes. Constantine will succeed and therefore there is no tension. The character out smarts his way out of every scenario and as always magic makes for an easy get out of jail free card. Magical characters are notoriously hard to write and giving them decent threats can become problematic. Magic is after all a deus ex machina for most situations. Fawkes and Lemire don’t exactly address this problem and this leads to Constantine having a very easy life. Even the curse he is suffering from in London isn’t a problem thanks to some magical other dimension. Its just lazy writing and makes for a dull read.

On top of that the villains continue to have little to no development beyond the fact they are villains. But then again the other new characters in the book aren’t given much to work with either. Jules is as charismatic as a brick and her dialogue is just awful. Constantine continues to get some characterisation, but the constant narration is grating. The noir inspired monologues are just too much and slow the pace of the narrative done somewhat.

Its good then that Renato Guedes’ art is solid. It isn’t as striking as the past two issues, but its still the best aspect of the book. His characters, especially Constantine, are expressive and detailed. The slight distortion to the art adds to the tone of the series. His depiction of the mystical labyrinth and its keeper are eye popping. Marcelo Maiolo’s colours continue to impress with vibrant oranges and mystic energy juxtaposed with the darker shades of the dirtier places within the DC Universe.

So, Constantine continues to be a fully underwhelming experience. There are a few good ideas (the London curse), but they’re swallowed whole by the mediocrity of it all. Constantine himself is still interesting, but at this point it is mainly just the concept of the character that is interesting. Fawkes and Lemire seem to be phoning it in with their scripts and even Guedes art doesn’t save the issue. This is a waste of a decent character.

Gail Simone’s new book goes for a very different look at the DC Universe.

The Movement #1

Comic books have always tackled political issues in one way or another and The Movement is no different. However Gail Simone’s new book puts its politics front and centre, crafting a piece of the DC Universe we haven’t really seen before.

For an issue one it is a pretty standard affair. We have the set up and introduction of the characters, themes and plot. Simone doesn’t really do anything revolutionary or ground-braking with the narrative that would make any reader really take notice. However the sheer ambition and potential of the title makes it a more interesting beast, especially compared to a lot of the straight forward superhero books DC produces.

Looking at the 99% and taking cues from both Anonymous and the Occupy Movement, The Movement’s central premise is an interesting one. Granted Simone’s presentation of these ideas isn’t exactly subtle and the title often comes off as an attempt to focus on trendy “rebellious” organisations, but it is a good angle to have in a mainstream superhero industry that is all about power. One can only hope that Simone can create a more nuanced approach to the topic as the title moves forward. But for now the book’s thematic strands are its greatest asset.

Where the book falters is in the characterisation, dialogue and simplistic plot. None of the new heroes really stand out and although that could be due to the fact this is the first issue, it is a problem. Especially since these are brand new characters Simone has produced. You can see what Simone was going for with the characters as she attempts to provide mystery for The Movement, but some depth would have been beneficial.

The dialogue isn’t much better as it is full of clunky exposition and bad stereotyping. The cops are of course the enemy as they work for “the man”, but Simone perhaps goes a little too far in showing their darker side. Especially the Captain who at first seems reasonable then flips and wants to tear down a church and replace everyone with good people. The plot isn’t a massive problem though it is just very simple, but that is mainly so that Simone can put across her ideas without being hindered to much.

But the greatest hurdle the book has to overcome is Freddie Williams II’s art. It is inconsistent, often messy and over inked. The character bodies are warped and too rounded, which is distracting. William’s depiction of character faces almost works, but often they also seem warped. The gritty look of the book at least goes with the tone of the script. But more often than not the messy art is off putting, which leads to very unsatisfying reading experience.

The Movement maybe a title that has a lot of potential, but the execution is off. As a first issue it does what it needs to do, but it isn’t engaging enough to entice new readers. Simone is a solid writer and hopefully the book will improve in the coming months. However Williams’ art does drag the title down. At the moment The Movement doesn’t do enough to entertain.

One Of The original X-Men leaves and someone isn’t too happy about it. *Spoilers*

All-New X-Men #11

For those of you who read Uncanny X-Men and where disappointed with how that title dealt with the reveal of who joined Cyclops’ school then here is a treat for you. Brian Michael Bendis focuses solely on the departure of Angel and its subsequent fallout. This issue has it all, a big old scuffle, melodrama, characterisation and villains being crafty. It is exactly what one wants from an X-Title. It also helps that Bendis manages to deliver an engaging script, which is aided by Stuart Immonen’s kinetic art.

First and foremost the reasoning behind Angel’s departure is compelling. The idea that the young mutant has listened to what both sides are selling and decided that he prefers Cyclops’ does wonders for his character. What he says makes perfect sense and is reinforced by Jean Grey’s actions.

But the reasons for his departure aren’t as compelling as the fallout from his decision, especially Jean’s reaction. From being overwhelmed to compelling Angel to stay, Jean has a lot to do here. Her actions, out of fear, are perfectly explained in the Kitty/Jean scene. The scene itself might be a little too long, but it really helps define the current emotional place Jean is at. The memories she gained from present day Beast showed her that the original five where always together, but that isn’t the case in this situation. So she lashes out like a scared child and attempts to get her own way. Bendis really captures her fear and manages to also bring Kitty forward as her mentor. Both characters get a lot of depth added to them in this scene, but it also moves both of their narratives forward.

Another excellent moment comes from Emma Frost and her Stepford Cuckoos. Bendis builds on what Grant Morrison created between Emma and Jean. Clearly Emma has some enjoyment when dishing out her “lesson” and it is great to see she hasn’t quite gotten over Jean Grey. But what Emma and her girls do also serve to show the dangerous path Jean is heading down and how it can’t be tolerated. The fact that Jean’s mental domination is frowned upon by Magneto is also a wonderful way in showing just how far removed these kids are from Xavier’s original teachings.

But it isn’t all about Jean and Angel. As the whole cast get some moments to shine. Watching Wolverine and Cyclops yet again come to blows is always good drama and here is no exception. It is a genuine loss for Wolverine’s side and Beast gets the brunt of the blame, which is fitting. Mystique also gets a moment to shine as she steals from Tony Stark and yet again frames the original X-Men. The scene is quite light hearted and once again demonstrates the enjoyment to be had when reading a well defined villain. Overall the moments of humour here are few, but work to balance out the narratives more serious and melodramatic tone. Bendis caps it all off nicely with the Uncanny Avengers making an appearance and the teased confrontation between Havok and young Cyclops is an exciting prospect.

Helping to deliver visual flair to Bendis’ script is Stuart Immonen. As always his work is eye catching and has a real energy about it. The characters are well defined and emote perfectly. Well, all except Wolverine. Immonen’s choice to compact his facial features is a bit distracting. His head just looks squashed and he looks out of place next to the rest of the cast. However Immonen continues to be a great fit for the book. He delivers blockbuster action worthy of an A-list title and always adds one or two stand out images (Original X-Men Attack!). But a lot of credit should go to Marte Gracia’s colour work. It’s bright, vibrant, subtle and sombre. Gracia really knows how to set a scene’s mood with colour and this in turn makes the art pop off the page.

So, this is another example of how Bendis and Immonen are crafting an engaging reading experience. The book is a well-oiled machine with each individual component delivering. The art is bombastic, detailed and expressive, proving that Immonen has the talent to produce quality work each month. The script is well crafted and character focused, which shows that Bendis’ style suits the X-Men. This issue once again proves that All-New X-Men is the best X-Title on the shelves right now.

Power Girl gets her pre-New 52 costume back. And other things happen.

Worlds Finest #12

Worlds Finest is perhaps the most tedious title on the stands. It has a lot of potential, which has sometimes been captured by series writer Paul Levitz. However more often than not bland narratives, banal characterization and a rotating roster of artists squander that potential. This issue is yet again an exercise in keeping awake for the reader.

What is surprising is that that even Kevin Maguire is phoning it in. His art is still effortlessly expressive, but it is lacking the impact it usually has. But yet again there is three artists on the book and it makes for a disjointed visual experience, which is really distracting. Both Robson Rocha and Geraldo Borges are serviceable here, however they don’t really sell the story. The art is lacklustre overall and this really doesn’t help Levitz.

Things do happen this issue though. The overall plot is moved forward, Desaad is fully revealed and our heroes get the motivation they need to confront him. The only problem is that none of it seems to matter. There is no weight to the proceedings, the threat is so unoriginal it becomes devoid of tension and the character moments are mediocre. The character death will mean nothing to the reader, as the character in question could have been a bystander for the amount of characterisation she received.

Some readers will welcome the return of Power Girl’s costume, but it isn’t explained away here. In fact if you want to know about the fashion change you’ll have to check out Supergirl #19. But it is a sorry state of affairs when a costume change is the highlight of the issue.

Worlds Finest is becoming a chore to read. It no longer has any of the spark it started with and Levitz doesn’t seem bothered with delivering interesting stories for these two characters to have. The whole Apokolips angle isn’t really working and the title needs to move forward. At the moment the title is wasting these two characters.

The Red Thunder returns!

Animal Man #20

All the way back in issue #6 Jeff Lemire decided to put the breaks on the major narrative in favor for a glimpse at the film Buddy Baker starred in. We revisit this concept yet again this issue. However whereas the last time was a fumble, this is a more successful approach.

Deciding to go back to the film that Cliff was watching all those issues ago allows Lemire to focus on some interesting character moments. The film is essentially a mirror for Buddy to look at. Looking at a hero who failed, but is given a second chance, to only have all of it ripped away again. Granted there is a happy ending of sorts with Red Thunder vanishing and still being the hero his son admired. Lemire has done a great job with the film, creating a character driven and poignant story. In fact it would easily work as a book in its own right.

But it is the use of the film to highlight Buddy Baker’s situation that is the real thrust of the issue. It works as a cautionary tale for Buddy’s impending future and also as a reminder of what he did wrong in his life. On face value the fame game is what we should be looking at. Showing how a hero can loose his identity in the face of publicity. Also showing that the strict moral code of the hero can’t really adapt to the lifestyle of the famous, where PR is king and spin can make or break you. It is all very fascinating in its own right and makes for an interesting read.

However beyond the fame angle there is the reflection of buddy’s life. Red Thunder chooses fame because it is the right thing to do at the time. But what he considers the right thing to do leads him down a path of mistakes and mishaps. The life he leads has ruined his reputation and lost him his superhero identity, something his son held dear. So Red Thunder does the right thing and starts over. He leaves his family behind to cherish the memories of what made him great. Crucially Red Thunder chooses to leave, which is the best thing for his family. It is this difference between Buddy and Red Thunder that makes the issue a more emotionally reflective one. The film echoes the idea that Buddy chose to do the right thing only to find failure and grief, but Red Thunder does the hardest thing (leaves) to ensure that he causes no more pain on his family. Something Buddy never did. This in turn makes the last two pages all the more poignant and the cliff-hanger an interesting one.

On top of a great script is some solid art by John Paul Leon and Timothy Green II. Timothy Green only gets two pages, but they work for what they are. Leon on the other hand deals with the rest of the book. He manages to give the art an almost cinematic look as his framing adheres to the usual visual cues of a film. Littered with medium shots, close ups and a like give the book a grounded feel. It is very by the numbers in terms of layout and pencil work. His characters are expressive and detailed, with the thick dark lines working well with the shading. The adverts and talk show appearance look like a TV on pause, with the panels mimicking how these programs are presented to the audience at home. It isn’t a book that has any bombast or colorful escapades, but it is a well-crafted visual experience that really suits the narrative.

So, Animal Man #20 is a success. The focus on the film is a change of pace, but not one without purpose. On its own the film has a great narrative, but how it works within the greater picture of the series is marvellous. It’s a thematic piece that has a lot of depth. Lemire, Leon and Green have delivered an excellent issue that highlights the strength of their character work.

All of this weeks comic book reviews (links & more issues will be updated as reviews are posted):

DC Comics

Animal Man #20

The Movement #1

Worlds Finest #12

Marvel Comics

All-New X-Men #11

FF #6 (playing catchup)

Uncanny X-Men #5 (playing catchup)

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Medusa has disappeared with Bentley and the Yancy Street Gang continue to attack Darla in the latest issue of FF.

FF #6

FF continues to be an entertaining read, but there are a few elements that don’t quite work. The book just doesn’t quite hit the balance between humor, character and plot that it has done previously.

Matt Fraction’s script is still full of wit and solid character beats, but a few moments seem off. This is due to the very disjointed nature of the narrative structure. It is quite a linear story, but the cuts between the characters aren’t very smooth and seem almost abrupt in places. Also it doesn’t help that some of the narrative elements don’t quite entertain the way they should. For example, the focus on the Yancy Street Gang just isn’t as funny as it is probably intended to be. That whole aspect of the book seems more like a distraction than anything else. Granted Fraction ends the YSG’s torment of Darla and gives some solid character work for her, but it just doesn’t quite work due to the way it is handled. For the first time the humour of the situation seems a little forced.

Aside from the disjointed nature of the structure some of the moments within the script seem to be randomly thrown in for no real reason; namely the Moloid sex change. On its own it is an interesting concept, but its execution is both rushed and lacking the emotional weight Fraction attempts to give it. However the scene with Scott talking to his daughter’s picture is well handled and continues the excellent characterisation of Ant Man.

The main narrative through line is of course is the search for Bentley and Medusa that starts with Dragon Man looking around the Baxter Building. This continues the overall plot and is fine in its own way. It isn’t particularly exciting, but it is moving the narrative forward and the cliff-hanger is quite intriguing purely because the Negative Zone is always a good source of entertainment. But unlike previous issues the narrative isn’t very compelling.

Joe Quinones replaces Mike Allred this issue and he does a great job. His style is very akin to Allred’s so the change in artist isn’t jarring. In fact series colourist Laura Allred continues her excellent work here and lends some continuity to the books visuals. Her bright colours complement Joe Quinones animated art perfectly. His characters are expressive and really emote. In fact Quinones does more for the title than Fraction’s script as the visual storytelling is expertly handled. The stand out image of the issue has to be the layout of the Baxter building, which is a fun image to look at.

So, while FF #6’s script doesn’t quite live up to Fraction’s previous work on the title, it still entertains in places. The visual quality of the book impresses thanks to Quinones. But with a major chunk of the book’s narrative (The Yancy Street Gang) not working and one random plot point that seems out of place, FF #6 doesn’t quite come together to create a satisfying reading experience.

Magik is having problems in Limbo.

Uncanny X-Men #5

So far this series has been focused on introducing its concept and looking at Cyclops’ new status quo. But with this issue the spotlight shifts to Magik. The young mutant who is linked to Limbo has always had a lot of story potential and it is nice to see that Bendis has decided to tackle the character’s history. However the star of the book is actually artist Frazer Irving.

The issue is absolutely gorgeous to look at. Irving’s pencil work is expressive and clear, but it is his colour work that truly raises the visuals of the issues. His use of colour is astounding, from perfectly rendered fire to moody dark tones. Irving’s style is perfect for Limbo and the book is littered with stand out images. Each page is so rich that you could look at them for hours. There is depth and weight to his art that really captures your attention. The book is simply a treat for your eyes.

On top of that Bendis delivers a decent script that deals with Magik, but also looks at the continued subplots. Magik’s past is a convoluted mess to begin with, but Bendis strips it all back and presents a succinct entry point for the readers. By the end of the issue you know everything you need to know about Magik and although the exposition dumps are there, they are handled well. Magik herself gets some much needed characterisation and Bendis succeeds in giving is a character with some depth to them. It is also worth noting that the whole Limbo scenario is actually quite engaging. In bringing in a villain like Dormammu, Bendis has given these X-Men a threat that they don’t often face. It’s all tied up with a cliff-hanger that promises some fun Limbo action next issue.

It isn’t all Magik though as Bendis keeps all his plots moving forward. The S.H.I.E.L.D aspect is touched upon here and teases the next threat Cyclops and his X-Men will face. More attention is given to the arrival of Angel and the Stepford Cuckoos. This is where Bendis injects the book with some humour that works well. The Angel/Magneto conversation is the best example of humour that is character driven, but not forced. However the new mutants still have a little way to go before becoming fully formed characters, which is the only noticeable problem with the script. But that is understandable as they are still brand new. One can only hope that Bendis focuses on them more in coming issues.

Uncanny X-Men #5 succeeds in delivering the whole package. The issue is an entertaining narrative, which is backed up with good character work, humour and interesting subplots. Irving steals the show with his art, giving the book a distinct look that suits the story. This is a solid first part in a new story arc and a step in the right direction for the title.

Don’t forget:  Free Comic Book Day is Saturday, May 4!

Speaking of FCBD, we’ll get to see some ads for upcoming books, including Avengers: Endless Wartime, Judge Dredd and Buck Rogers.

In case anyone tries to tell you that we’re not living in the golden age of comic book movies, check out the trailers for Thor: The Dark World, The Wolverine and Kick Ass 2 – and the new Man of Steel trailer features the first mention in a movie of the fact that Superman’s insignia is not an ‘S.’  Oh, and a little picture called Iron Man 3 is coming out on May 3 – perhaps you’ve heard of it?

Marvel Studios has reacquired the film and TV writes to Daredevil.

DC Comics’ Trinity War will also get three tie-ins:  Trinity of Sin: Pandora, Trinity of Sin: Phantom Stranger, and Constantine.

DC Comics has announced a new character:  Nightmare Nurse.  But is she a hero or a villain?  Also, whew – that name is awful.  What year does DC think it is?

From the “Things we didn’t need” file comes a Keith Richards comic book – the cover is absolutely horrifying.

Apparently, DC and Marvel Comics own a shared trademark on the word superhero, and they’ll take anyone to court if they try to use it.

New characters, new controversies, and new lines of books are just part of the reason why last week was another good one for the ol’ funny books.

After a fan ask a controversial question DC executives cancels a column at Comic Book Resources.

Marvel’s Free Comic Book Day issue, Infinity, leaked online.

The 2013 Eisner Award nominees have been announced.

ComicsBeat.com discusses some of the fallout from the Eisner announcement.

Jim Starlin says “he’s bringing back the best things about the concept.” in his Stormwatch run.

Green Lantern has a new villain coming it’s way, Relic.

Details are out now about Marvel’s new “Epic Collection” of reprinted old comics (think Essential Marvel but better).

Marvel’s new “Epic Collection” of reprints are like Essential Marvel, but better.

A judge rules in the favor of DC Comics (again) for the rights of Superboy.

Amazon’s Kindle store has new comic submission service of its own.

DC Comics is teasing the Joker’s daughter.

Gary Frank assures us that even after he’s done, “DC has plans for Shazam!”

8 things DC Comics has to do if they actually want a Justice League movie.

Power Girl’s boob window is back.

In what is becoming a common practice at DC, Vibe gets a new writer this issue (after only two!).

Vibe #3

Sterling Gates jumps on the book and begins his writing duties with a Vibe VS Kid Flash story. The issue is filled with action, a little humour, more A.R.G.U.S, more Gypsy and of course more Vibe. But it is also an issue that is just fine, run of the mill, average. It maybe early days for Gates, but this script doesn’t exactly get you excited about his time on the book.

The main problem isn’t that the narrative is cliché or that Vibe’s characterisation is lacking. It is the sense that Gates is trying to sell you things. Namely Vibe and Kid Flash. In what can only be described as bad exposition, we have Amanda Waller and Agent Gunn telling us how important and powerful Cisco is. The dialogue is heavy handed and doesn’t exactly tell us anything we haven’t already heard before in the last two issues. But Gates hammers Cisco’s importance home several times in this one book. At the same time Kid Flash’s appearance feels more like an advert for the character than anything else. Look how mysterious, screwed up and fast this character is, seems to be the message Gates is delivering. Instead of what could have been an interesting encounter between the two heroes, we get a hard sell.

That isn’t to say the issue is terrible, its just fine. The overall plot moves forward with Gypsy escaping, Waller scheming and Vibe getting told he works for the bad guys. It’s quite reassuring that Vibe seems to question his masters after his encounter with Kid Flash. It means that the readers don’t have to watch that aspect of the plot play out over a year or so. However nothing presented here is engaging.

Cisco’s characterisation, which was handled well in the last two issues, has all but vanished. This isn’t a good move on Gates’ part, as this version of the character shares a lot in common with other popular teen heroes. Therefore when you focus mainly on plot and deliver a narrative that covers familiar territory, Vibe doesn’t come across well. There is one moment of humour that shows off the only unique aspect of Vibe’s character (his relationship with his brother), but that is it. For the most part Gates sacrifices character for plot.

And what an uninteresting plot it is. It deals with a confrontation between two heroes, which is of course a misunderstanding. Granted it makes Cisco question the people in charge of him, but it’s just one long and banal action scene. There is more focus on DC’s answer to an evil version of S.H.I.E.L.D, who provide the reader with all the clumsy exposition they need. And there’s a cliff-hanger that has no impact. Seriously the character that turns up at the end could be anyone. Also all they have to say for themselves is that Cisco is “asking the right questions.” Gates is clearly going for mystery, but fails.

Pete Woods has a better time with the issue. His Saturday morning cartoon style continues to suit the character. His pencils are energetic and his character work does the job. The depiction of Vibe’s powers is a little pedestrian and often the panels with him using them seem a little messy. Woods is joined by Fabiano Neves this issue and he is a serviceable artist. His style isn’t too far off Woods so the transition between the two artists is smooth. His facial work is a little more expressive than Woods though. Ironically the most striking image in the book is the blurred one on page three.

So, Gates comes on board and it seems that he isn’t too enthusiastic about the character. He pushes forward the plot that started in issue one and there is a sense that Gates is perhaps rushing past this plot to get to his own story. The issue itself is fine, it has a lot of problems but it isn’t offensive. The art is solid and continues to give the book a suitable tone. One can only hope that this is just the shaky first issue that comes from a change in writer and not the quality of the title moving forward.

The cast have a moment of calm before Beth Kane returns.

Batwoman #19

J.H. Williams III and W. Haden Blackman have always excelled in providing depth to their characters in this book. This issue is no exception as the focus is on the main cast’s interactions with people close to them.

This focus on these relationships is clearly a purpose filled move on Williams and Blackman’s part. The pieces are being set up and motivations are being made clear. As a calm before the storm issue it succeeds. We have Agent Chase questioning her actions in the coming events, Jacob and Katherine having a long conversation, Maggie dealing with her encounter with fear toxin, Bette leaving Kate’s side and Kate seeing her insane twin sister who she thought was dead. Each aspect of the narrative is strong and entertaining.

Of course the thematic through line here is ideas on family and it works to the book’s advantage. Reintroducing Kate’s twin sister is a great idea and this issue goes to great lengths to show how important family is to our main cast. But it is also nice to get more out of characters like Katherine and Agent Chase. Showing Agent Chase talking to her own sister allows Blackman and Williams to deliver a history lesson about the character that doesn’t seem forced. It adds layers without trying too hard and gives the reader a clear idea of where Chase stands on the D.E.O’s, more specifically Mister Bone’s, plan. Much like Chase, Katherine is given more here and her role within the comic is expanded. Her talk with Jacob is impassioned, as we learn her concerns about everyone involved with the vigilante lifestyle. Her ultimatum to Jacob allows Williams and Blackman to reveal that Jacob thinks he has a son, which will hopefully lead to a confrontation between Mister Bones and Jacob. Having Katherine become more involved with the superhero work is a solid step forward for both the character and her relationship with Jacob.

And that is the beauty of the issue. It redefines the relationships in the book and does it well. Every interaction adds more story potential in the long run. But it must be said that after the marriage proposal we haven’t had a lot of time spent with Kate and Maggie. We see them here as Maggie struggles with nightmares caused by her encounter with some fear toxin (thanks to Kate) and how their relationship is strained. But Williams and Blackman haven’t really expanded on it in a while.

Trevor McCarthy is on art and he does a solid job in rendering a talky issue. There is no real need for visual flair or ostentatious panel layouts with a narrative like this. He does add some nice layouts when necessary, the fighting scene that is training Bette is a nice moment. But on the whole this is a very standard looking comic, which is a change for Batwoman. This isn’t to say it looks bad though. McCarthy is expressive, but has little impact. He does manage to convey the emotions the script requires. But there is a lack of depth to the art due to his simple pencil work. He does his job, but that’s all.

So, Batwoman #19 is a character driven piece that examines its main cast. It is a great read, but it lacks the usual visual presence the book is known for. Yes this is all set up for the next story arc and can easily be called a filler issue, but it is so well handled it doesn’t matter. This well-written script from Williams and Blackman ensures that Batwoman continues to provide a compelling read each month.

All of this weeks comic book reviews (links & more issues will be updated as reviews are posted):

DC Comics

Batwoman #19

Justice League of America’s Vibe #3

Marvel Comics

Age of Ultron #6

Iron Man #8

Superior Spider-Man #8

The heroes fight back to end the Age of Ultron.  Warning…  SPOILERS ahead.

Age of Ultron #6

In the past, Wolverine is followed by Susan Storm.  When a young Nick Fury arrives in the Savage Land, the two, time-displaced heroes take off in his flying car.  In the future, the heavier hitters make their way to Ultron and find the world transformed into a technological paradise.  Not long after arriving in New York, the heroes are attacked by thousands of Ultron heads.  In the past, Wolverine confronts Hank Pym and just before delivering the deathblow, Sue interrupts.  Wolverine pleads with her to let him finish.  As the heroes in the future are brutally picked off, Sue finally gives in and Pym’s throat is slit.  Now, Wolverine and Sue plan to return to the present to see how they’ve been able to save it.

One of the things I’ve liked the most about this series thus far is that, unlike most of the Marvel events of this century, Age of Ultron hasn’t really been shy about killing people.  I know they aren’t really dead, but I think back to past events like The Infinity Gauntlet or Secret Wars and a major part of the story is the total annihilation of heroes.  It’s not just mention that people died, either.  I’m talking about the graphic death of heroes.  A couple issues back, we got that with She Hulk sacrificing herself so Luke Cage can notify the others of Vision’s role in all this business.  In this issue, Wolverine slits Hank Pym’s throat and Captain America is deCAPitated (hahaha, sorry, had to).   Again, it’s ridiculous to even think this for a second that this is real, or how it will end, but in some strange and morbid way, it made the book entertaining.  Time and again, characters used to get “killed” without actually being killed.  It was something of a cliffhanger that would draw people back to see how that character’s death would be reversed.  You didn’t even need an event for that to happen.  That sort of stuff was as common as me changing my underwear (for those who don’t know me, that’s a lot).

Another fun element of the story that enhanced the experience of reading the issue was thinking how much more characters will need to bounce around the time stream.   I could almost hear “Yakkity Sax” play when I began thinking how offing Pym wasn’t going to work and it’s going to take more time jumps to fix the resulting butterfly effect.  Even though it’s ultimately predictable that what Wolverine and Sue did isn’t going to work at all, I’m actually excited to see what’s going to happen next and how what they did completely screwed up the Marvel Universe.  I’m also really intrigued that our lead characters have shifted to Wolverine and Susan Storm and not the usual Captain America and Iron Man.  It’s not terribly interesting from a Wolverine standpoint aside from him being more of a brute and not really one who will know exactly how to fix the problem now that it has been created, but Sue is the more interesting lead.  The mother figure of the Marvel U. is now going to have to figure out how to fix all that there is.

Carlos Pacheco and Brandon Peterson take over as artists.  Pacheco’s past setting is handled well.  I especially liked how he handled Nick Fury.  It’s almost as if the character came right out of his 60′s Steranko books.  Peterson handles the present/future and what I appreciate about that is the grittier take.  It’s dirtier and more dangerous than the past.  Peterson makes use of more line work while Pacheco’s look is smoother and more youthful.  It’s a nice contrast that isn’t exactly jarring to look at when you move from one time frame to the other.

The second half of the series is well underway and I’m really curious to see where we’re headed in the is time jumping adventure!

Iron Man battles for his freedom against Death’s Head!

Iron Man #8

Tony Stark is having a heck of a time against Death’s Head in the Voldi’s Arena of Justice.  The giant robot his having his way with Tony until 451 is able to free his Iron Man armor.  When Tony suits up and escapes from the arena, he’s followed by drones with only one mission – kill all heresy.  When he gets back to his outer space armory he discovers his pursuers are deactivated.  That’s when he learns of 451′s theft of the Voldi’s most precious item.  The item hid the Voldi from the Celestials and with that no longer in their possession, their Gods come and completely wipe them out, leaving none alive.

There are a couple reasons why this issue is my favorite of the series to date.  The first is that there’s some good action in it.  In fact, it’s one of the more exciting books I’ve read all year.  Tony’s battle with Death’s Head is nicely narrated.  What Kieron Gillen does extremely well here is instead of trying to show Tony using wit and intelligence to come up with something of a way to defeat Death’s Head without his armor, he just says that’s all bullshit and eventually has the armor come and bail Tony out anyway.  The second comes later as 451 tells Tony how the machine used him for its own needs.  I loved the comparison of what the Voldi were to the Celestials to what leeches are to us.  It was a really well scripted and well drawn sequence that was incredibly exciting to boot.

Speaking of the art, I’ve really liked Greg Land’s work on these last few issues.  The more cosmic feel has made this story that much larger and Land’s Celestials in this issue almost look like they came straight out of Jack Kirby’s pencil.  The battle in the arena was grand and exciting.  This setting is treating Land well and he’s doing a great job with the arc.

It might be odd to think of Iron Man as an outer space hero, but this particular issue is most definitely the finest of the series to date.  This is the type of issue that I want out of Iron Man.  It’s a nice mix of fun and action with a little humor thrown in.  This issue concludes with a side of Tony that we don’t often see anymore.  Instead of him being the smiling, cocksure guy with all the gadgets, he’s angry and read to dole out some justice.  He’s also potentially found himself a brand new recurring villain that’s more than just a collection of odd things.  He’s an already well rounded villain with enough intrigue that makes it all work for the better.

Just when you think the Superior Spider-Man is going to get caught…

Superior Spider-Man #8

The Avengers have trapped Spider-Man.  When they finally subdue him (with the help of ghostly Peter Parker), they run a battery of tests and only learn that he’s not a Skrull or being mind controlled in any way.  They place Spidey on probation and Black Widow offers her ear if he ever needs to talk about whatever is going on with him.  After being released, Spider-Man hunts down Cardiac and attempts to take back the item of Ock’s that Cardiac is using to help a young brain damaged girl.  Once Ock discovers what the device is being used for, he helps Cardiac and heals the girl.  He realizes this might just be what he was cut out for, but first, he borrows the device to find the lurking persona of Peter Parker in Ock’s own mind and prepares to perform a procedure to cut Pete out of his mind for good.

While I have less problems with this issue compared to last, it’s been an incredibly uneven ride over the last few issues.  Last issue’s script felt overly written in such a way to make it feel like something out of the Silver Age.  This issue has pretty much dropped that and returned to a little more  straightforward style of writing.  There is a slightly lighter tone in general on display and while that is handled well with how the Avengers are shown handling the results in the more comedic scene or the sweeter ending with the little girl getting cured by Ock and it touching him, it’s this unevenness that is unnerving about the series.  That’s not  me saying that I require this issue to be continually dark or serious, but there’s been such a stark difference in how the issues are individually written.  The last issue didn’t come off all that well.  This issue feels more like what this series should be when it isn’t dark or even terrifying with how Ock plays Spidey.  There are times in which it almost comes off as this series is coming out too often or there has been some editorial interference to make this story last longer or have forced moments of anger or arch-speak or the types of scenes we see here where Ock is actually growing a heart that isn’t blackened by hate.

Like I said, this issue is better than the last but it does reveal one weakness that the series can’t seem to shake.  Not each issue seems to have a consistent feel.  We’re too often moving from one issue to the next with completely different feels as if the series is showing more of an assorted series of vignettes of Doc Ock as Spider-Man instead of a one series that has a consistent feel from one issue to the next.  Yes, I understand that this is paralleling Ock’s own journey straddling the role of a hero and what his own hubris feels he should be.  However, that’s been lost in the unevenness of the scripts and plots.  It feels more all over the place instead of having one thread with a true arc based on a series of events that Ock has handled in particular ways.  Until that consistency can be found, it’s hard to know what to expect out of this series and that makes for a not-always-pleasurable reading experience.

The newest, and probably finale, Man of Steel trailer is released and along with it lots of new footage and even a possible hint at a certain bald guy.

0:00 – 0:04 - Jor-El was right. Planet Krypton is being destroyed/dying/at war.

0:10 - Aw. Little Kal-El is pretty cute. And young. Really young. Like was just born young. With all that goo all over him.

0:18 - “Hell be an outcast. They’ll kill him.” Jor-El, “How? He will be a god to them.” I made a meme out of that line…

0:34 - Footage we’ve seen before with new voice over from Jor-El.

1:04 - “Can’t I just keep pretending I’m your son?” Jonathan Kent, “You are my son.” – Great, I’m going to cry in this movie.

1:10 – 1:17 - More familiar footage with new voice over from Jonathan Kent.

1:19 - Young Sups finding something in the arctic.

1:22 – Mixture of new and old footage with voice over from Lois Lane.

1:29 - Pre-Superman saving people from fire. Cool beard.

1:36 - Looks like a good place to build a fortress. Someplace you can be in solitude maybe.

1:37 - More Jor-El voice over kicks in.

1:58 - As Superman powers up so does the music.

2:00 - Same Superman breaking the sound barrier footage but with intense music.

2:07 - Not sure what that squid creature is but it looks like Superman fights it so I’m in.

2:08 - More footage from Krypton?

2:10 - Superman deflecting some kind of energy beam? Then flying into it?

2:11 - General Zod, “You believe your son is safe?” Gotta be before Krypton blows up, the beginning of Zod’s search.

2:14 - “I will find him!” Wow. I’m going to LOVE General Zod.

2:16 - Missile being launched at a Kryptonian?

2:18 - That looks like LexCorp to me. I wonder…

2:19 - Superman voice over.

2:22 - Superman being faster than a speeding bullet.

2:26 - Military planes approaching something hovering over Metropolis. Very Independence Day-ish.

2:227 - Woman is in awe at Henry Cavill’s muscles.

2:36 - Cute scene with Lois Lane and Superman where it looks like the name “Superman” is first coined.

2:38 - Dang Henry Cavill makes for a good Superman.

2:48 - Final scene of Superman punching someone as flies, a lot, really fast, really cool.

Man this movie looks good. Russell Crowe, Henry Cavill, Michael Shannon and everyone else looks perfect for their roles, the music sounds amazing, it looks to be both action packed and full of good character moments – the Superman in this movie is bringing hope to the world and this trailer is bringing hope to the fans.

The only noticeable thing missing, Clark Kent in glasses working at the Daily Planet. Perhaps that being reserved in the trailers, perhaps it’s not even in this movie. We’ll see.

On June 14.